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Fred. H. Brigden, r.c.a., o.s.a., Chairman 

F. S. Rutherford,, V ice-Chairman H.J. Fairhead, Honorary-Treasurer 

Fred. S. Haines, r.c.a., o.s.a., Secretary 

Anthony Adamson, m.r.a.i.c. Mrs. de Bruno Austin William Alexander 

Peter Brieger, ph.d. Martin Baldwin, John Bird 

Fred. H. Brigden, r.c.a., o.s.a. C. T. Currelly, m.a., ll.d., f.r.g.s. 

H.J. Fairhead Kenneth K. Forbes, r.c.a., o.s.a. 

E. A. Hardy, o.b.e., d.paed. Audrey Liversedge 

F. H. Marani, o.b.e. , f.r.a.i.c, a. r.c.a. H. S. Palmer, r.c.a., o.s.a. 

H. L. Rous F. S. Rutherford, J. E. Sampson, a. r.c.a. 

J. Ardagh Scythes 

J. I. Simpson J. F. M. Stewart, b.a. Frank Stone 

John Westren Melville White Mrs. O. D. Vaughan 


Fred. S. Haines, r.c.a., o.s.a Principal 

Roberta Murby Registrar 

Mary Pettigre w Secretary to the Principal 

Amy Despard Librarian 

W. M. Mounfield Secretary, 21 Nassau Street 



The Ontario College of Art was founded in 1876 as the Central School 
of Fine and Industrial Art. It was incorporated by act of the Provincial 
Parliament under its present title in 1912 and the same year entered posses- 
sion of its present building in Grange Park. For 70 years it has been a land- 
mark in Canadian Art and during that period nearly a thousand of its 
graduates have taken their places in all the phases of our industrial and 
artistic life. 

To meet our increasing demands in 1945 the College expanded its 
quarters by acquiring the William Houston School on Nassau Street. This 
added classroom space and made it possible to enlarge our curriculum by 
including new subjects and intensifying our courses of industrial training. 
Craft Studios under expert directors have been established to give students 
practical creative experience on a small scale before graduating to the various 
fields of design in industry. 



Originally we had planned to concentrate all the teaching of design at 
21 Nassau Street, and to avoid confusion between our two buildings called 
it the School of Design. But this division of subjects proved impracticable. 
The large registration compelled us to utilize every inch of space to the 
utmost. Accordingly, First Year, Interior Decoration, Graphic Art Room, 
Textile, Metal Work, and Furniture Studios will be at Nassau Street; Painting, 
Commercial Art, Sculpture, and Pottery at Grange Park. 

Though much emphasis has been placed upon training in Industrial Art, 
the College has also expanded its departments of pure Fine Arts. Creative 
art has always been the forerunner of progress. In order to understand its 
development more clearly, last year a course on the history of civilization 
was added. Being taught to appreciate the best aesthetic traditions of the 
past, students are encouraged to look forward with creative vision to the 
future. The acquisition of skill in one line of work simultaneously reveals 
to the student the possibilities for development, service and culture inherent 
in all work. He develops the technical skill and mental attitude which make 
both the creation and expression of beauty a source of enjoyment. 


The College is endowed by the Ontario Government and as a result is able to 
make its charges for tuition very moderate. Applicants who have practical ex- 
perience or sufficient previous training in other art schools may be admitted to 
advanced classes if they present evidence of their eligibility. Diplomas are not 
granted for less than two years work at the College. 

DAY CLASSES. Day classes for the general session are open to men and women 
students. Intending students are required to give particulars of their age, 
school education, previous training in art study, and to present satisfactory 
evidence of their interest and ability. It cannot be too highly stressed that 
students must have an absorbing interest in art and the capacity for hard work. 

PORTRAIT PAINTING CLASS. On Monday, Wednesday and Friday 
evenings, 7:30 to 9:30, under F. S. Challener, $15.00 a year. 

A CLASS FOR JUNIORS. Free tuition is given to selected students from 
Secondary Schools on Saturday mornings through the College year. 

free studentship courses. The course must be taken in the year immediately 
following the student's Fourth Year or graduation, and the student must 
have a definite course of work agreed upon by the Principal. This period 



of study is considered by the College to be mainly one of practical effort 
on the part of the student to enter professional life, and the College offers 
facilities to the student to improve along the lines chosen. The necessity 
to further develop technical ability and add to the knowledge gained, with 
a view to fuller equipment for the life of the artist, is urged upon the graduate 
and work is arranged for that purpose. 

LECTURES. In addition to the lectures on Anatomy, Architecture, Design 
and the Technique of Painting, Miss Ruth Home and Mrs. Dorothy 
Hoover will lecture and direct the research study of students at the 
Royal Ontario Museum. 

THE COLLEGE LIBRARY contains a valuable collection of art books 
and periodicals available for study and reference. The College also 
welcomes contributions to its Library. Scythes and Company Limited 
are making an annual contribution to the Library up to $600 a year. 

THE ROYAL ONTARIO MUSEUM, which is one of the outstanding museums 
in the world today, extends to our students the privilege of intimate study, 
where they may come in fruitful contact with the great art of the past. The 
great Chinese collection is a storehouse to thrill the student, and the varied 
collections and specimens of art objects and natural history make this one of 
the most prized fields of art study. The Art Gallery of Toronto, next door to 
the College, has a permanent collection and many periodical exhibitions, and 
is a fertile field for study. 

organization for the development of the student social life within the College. 
It undertakes the supervision and upkeep of the Students' Common Room, 
and arranges all social affairs, dances, student exhibitions, theatrical enter- 
tainments and dinners. A notable and artistic annual event is the College 
Masquerade Ball which is carried out by the students. The ball room is 
decorated and costumes designed in the styles of a chosen period; this 
work being done as class problems in design and colour, mural decoration 
and applied art. 

CAFETERIA AND COMMON ROOM. A cafeteria is operated where students 
may obtain lunch and refreshments at moderate prices. The cafeteria is open 
every day in the week. It is in close connection with the students' common 
room which is under the management of the Students' Club and has been 
furnished and maintained by them. 


THE COLLEGE awards Diplomas of Associateship of the College, Scholarships 
and Prizes arranged for and posted in the College for competition, and 
Certificates. These are regulated as follows: 

THE GOVERNOR-GENERAL'S MEDAL is awarded each year for general 
proficiency in advanced work, or in one particular subject. The Lieutenant- 
Governor of Ontario also donates a medal for proficiency in any department. 

ALL AWARDS are made by judgment of the Staff sitting as a Board, and all such 
awards are made upon the basis of the student's work done during the year, 
and through examinations, both practical and written. 

SCHOLARSHIPS for free tuition in the College are awarded to students in First, 
Second and Third Years. 

DIPLOMAS OF ASSOCIATESHIP in the College, authorizing the use of the 
letters A.O.C.A. after the names of the holders, are awarded upon completion 
of a four-year course, covering one or more of the ten departments of the 
College, provided the student has passed all conditions of the course, 
and that a satisfactory standard of quality has been achieved. 


This Introductory Course provides intensive training in the fundamentals of art 
appreciation and practice and acquaints the student with practical standards by 
which he can assess his ability to proceed into a specialized field. 90% yearly attendance 
is required for admission to any specialist course which indicates the importance 
placed on term work. 

For the beginner, the drawing course to develop co-ordination between hand and 
eye through the study of line, tone and form, is divided as follows: 

ARCHITECTURAL DRAWING— The handling and care of instruments— elementary 
mechanical drawing to develop precision, including a basic study of shades and 
shadows and the application of perspective. 

ORNAMENTAL DRAWING— The study of traditional ornament, decorative design 
and pattern through all ages and countries and its relation to the society in which 
it developed. 

ANATOMY AND COSTUME DRAWING— An analysis of human anatomy from 
life model correlated to drawing the costume figure in action. 

MEDIA AND TECHNIQUES IN DRAWING— The pure exploration of the ma- 
terials of design through experimental work with pencil, charcoal, pen and ink, 
pastel wash, water colour, tempera, stencil and spatter. 

COLOUR AND COMPOSITION— The exploration and application of colour 
theories, including the Munsell system of notation and relationships, to abstract 
shapes and the student's own research. 

RESEARCH— Creative exploration of forms in life embracing research in biology, 
botany, physics, crystallography and outdoor sketching. 

TWO-DIMENSIONAL DESIGN— Investigation of the power of the simple line- 
relationship of line and areas in the division of two-dimensional space, and the 
system of repeat pattern used in industry. 


f 10 1 


THREE-DIMENSIONAL DESIGN— Organization of the designer's thought processes 
and the development of the mental conception of form and space. 

MODELLING AND CASTING— To develop an appreciation of plastic form in 
clay and other media. 

LETTERING— An introduction to the history of calligraphy and the study of basic 
forms to train the hand in pen and brush control. 

OPEN LECTURES — Lecture period for one period a week of second term for demon- 
stration and films, slides, etc., by both staff and guest lecturers. 

CRAFT PERIOD— An introduction to the manual crafts to assist students in choice 
of their specialist course. 

CHOICE OF COURSE— Students who have gained a" First Year Pass are allowed to 
choose their own course (for specialization) in Second Year. They have the oppor- 
tunity of specializing in work suited to their abilities and advice is given them, 
based on the character of their work and in accordance with their individual needs. 
1. Drawing and Painting. 2. Modelling and Sculpture. 3- Advertising Design and 

Graphic Art. 4. Interior Architecture and Design. 5. Cabinet Making. 6. Metal Work 

and Jewellery. 7. Pottery. 8. Weaving. 9. Bookbinding. 10. Craft Teachers Course. 

11. Industrial Design. 


IMS \\\ l\<- AND rAI.MIM. 

SECOND YEAR: The life model is used for drawing in line and tone. Still life is 
used for a basis to develop technique in painting in oil and water colour; 
design as related to pictorial composition; anatomy— part 1 and history of art. 

THIRD YEAR: In this year most of the life drawings are made larger and line and 
tone are more fully developed; life and still life in oil; costume is used for oil, 
dry brush and water colour; design as related to pictorial composition; 
anatomy— part 2. 

FOURTH YEAR: Life, costume and still life painting; design and composition 
of pictorial arrangement for pictures, mural decoration and kindred uses. 


[12 1 


SECOND YEAR: Each project is prepared with the idea of applying, enlarging 
and relating design principles to commercial advertising and graphic art. 

THIRD YEAR: The projects are prepared in such a way that the student is 
gradually made familiar with the more difficult commercial art problems, 
not only in their advertising values, but also for their successful reproduction 
by various mechanical processes. 

FOURTH YEAR: Projects are planned so that the student is given every oppor- 
tunity to explore all the possibilities of the particular branch on which he 
may wish to concentrate. 

A definite effort is made to encourage the student to make use of his 
work in other departments, viz., illustration, drawing and painting from 
life, costume and still life. 

From Second to Fourth Year every effort is made to equip the student 
with a sound and practical knowledge, not only of the art and design re- 
quirements of commercial and graphic art, but also of the mechanical and 
advertising requirements. For the Graphic Art student the following course, 
under Nicholas Hornyansky, A.R.C.A., is now available. 

Metalplate making and its application to products: (l) Etching, soft ground, 
dry point, aquatint, colour aquatint. (2) Hand-etched metalplate as transfer 
on china or pottery decoration. (3) Hand-etched metalplate for quantity run 
on gravure press. (4) Deep-etched metalplates printed on Leather: Book 
covers, tea cosies, writing pads— Felt: Place mats, hot dish felts, table centres 
— Silk: Lamp shades, covers, etc. (5) Lino cuts transferred on copper, silver, 
etc., and etched in high relief. Trays, door ornaments, lamps, etc. 

ILLUSTRATION— Third and Fourth Years: Illustration for books, magazines, 
etc., starting from the reading of the manuscript, then planned and carried 
out in oils, water colours, tempera, wash, charcoal, pen and ink or combina- 
tion of these media. 


[13 1 

IVI lltHllt Altl III i 1(1 I Iti: AMI HlSH.A 

In order to prepare the student to meet the changing present-day conditions brought 
about by the rapid increase of public interest in interior architecture and design, 
certain modifications in the teaching programme are envisaged for the coming year. 

The fundamental training in the essentials of architecture as related to the interior 
will be augmented by the introduction of special critics and lecturers, thus broadening 
the association with industries related to the profession and intensifying the research 
course. This expansion will be made possible by a new course in merchandise display. 

SECOND YEAR: The student is given a basic course in interior architecture and furni- 
ture design through a series of problems on sections, full-size details, maquettes, 
floor plans and elevations, with the emphasis placed on colour and original room 

THIRD YEAR: An intensive course in personal research on historic styles is paralleled 
by an analysis of adaptations and the fundamentals of contemporary interior 

FOURTH YEAR: A year devoted to the serious exploration of the material problems 
of the professional decorator and industrial designer. It is possible to graduate 
only students of the highest calibre who will carry on the prestige of this growing 
design field. 


f 14 1 


The Work in this cours.e is intended to develop in the student an appreciation 
of plastic form and the ability to express himself in the various media: clay, 
wood, pottery, marble and stone. 

STARTING with the modelling of geometrical solids and their application to 
all natural forms, working from natural objects such as fruit and flowers, the 
student progresses to animals and the human form. From this experience 
he is encouraged to create portraits in relief and in the round, and to create 
sculptural compositions, designs for pottery and industrial sculpture and 
architectural ornament. 

IN THE FIRST YEAR, instruction is given in simple plaster moulding to enable 
the student to cast his work, and for modelling and casting for pottery. 

IN THE SECOND YEAR, class lectures are given on various sculptural materials 
and treatments. As the student progresses, instruction is given in casting 
in the more involved processes, waste and gelatine moulding, plaster piece 
moulding and sculptural sand moulding. Lectures with slides are given in 
History of Sculpture, Contemporary Sculpture, and Anatomy. 



I»l( V« INK AMI I' AIM IN«. 



ivi i moic mroitvnov ami sdirinti 


With the opening of the Design School on Nassau Street, the College is broadening 
its activities to include varied forms of applied art. The following is a brief outline of 
the work proposed, and this will be extended as time and opportunity permit. 


SECOND YEAR: The study of woods, their characteristics, cutting, drying and uses; 
the history of period furniture in relation to various construction practices; the 
use of hand tools and their history; study and application of jointing methods and 
practical work making same; designing, detailing and making simple pieces; 
history of furniture finishes, their uses and application; practical hand finishing. 

THIRD YEAR: Study of the old master cabinetmakers and their methods; the modern 
designers; veneers and veneering; designing and detailing of more difficult pieces; 
advanced machine work, bench work and woodturning; making up pieces of 
students' own design; advanced wood finishing, french polishing, lacquering; 
elementary wood carving and upholstering. 

FOURTH YEAR: Study of advanced designs of original contemporary furniture; 
construction and finishing of the more difficult types of furniture; blueprints; 
office furniture, lamps, radio and television cabinets; built-in furniture, sectional 
furniture, advanced upholstery; chairmaking, design, detailing and making: 
the home workshop, inventories, costing, selling and salesmanship, purchasing 
of materials, labour problems in the industry; teaching; review. 



WEAVING (Wanda Nelles) 

SECOND YEAR: The study of basic weaves, textile fibres and yarns; hand loom 
weaving, fabric analysis and structure; history of weaving; cotton yarns and 
weaving; colour and design. 

THIRD YEAR: The study of weave formation, fabric analysis and structure; history 
of weaving; woollen yarn manufacture; draw loom, hand weaving, rug weaving, 
colour and design. 

FOURTH YEAR: The study of weave formation, fabric analysis and structure, 
jacquard weaving, hand weaving projects, history of weaving, colour and design. 


SECOND YEAR: A thorough grounding in the use and care of hand tools, making up 
from raw materials various small personal accessories to the standard tool kit. 
Actual metalwork to be confined to certain practice pieces in which the funda- 
mentals of good design and craftsmanship will be stressed. The materials to be 
used will be Steel, Brass, Copper, Pewter. 

Study will consist of a history of metal working from earliest times to the 
beginnings of the Guild system and investigation into the properties of the 
various metals and materials being used. 

While base metals will be used mostly, certain work in silver will be intro- 
duced and an intensive study of its properties and uses will be started. The use of 
machinery and the problems it presents will also be made the subject of con- 
siderable study. 

The history of the development of the metal crafts from the day of the Guilds 
to the introduction of power machinery and a continued and more advanced study 
of the materials of use to the craftsman is to be included. 

Practical application of the findings of these studies will be encouraged by the 
allotment of time for experiments the student may wish to make. 

THIRD YEAR: Advanced mechanical methods, study of commercial practice in 
forming, punching, casting, plating, etc. 

Almost entire time to be spent on silver although some work in gold will be 

Lapidary work and study of gem stones, also work in enamels to be started. 

Some degree of specialization will be allowed in third year, i.e., in Metalwork 
or Jewellery. 

Study, advanced metallurgical and chemical subjects. History to be brought 
up to present day. 

Students will be required to make independent and detailed studies of all aspects 
of the particular craft in which he has decided to specialize and to prepare papers 
on various subjects as directed. 

[20 1 


FOURTH YEAR: Fourth year work will consist mostly of review and refinement of 
methods, the production of certain highly finished pieces of work to be designed 
and planned throughout by the student. Considerable advanced study and 
research to some extent directed but for the most part along lines of particular 
interest to the student. 

Opportunities will be provided to study the operations of manufacturing 
plants and the various aspects of the business of producing and marketing 
articles of a valuable or precious nature. 

POTTERY (Gladys Montgomery) 

"On purely educational grounds the manipulation of clay is perhaps the swiftest of all 
the arts for the development of the imagination and training in the skilful use of one's 
hands." (Gordon M. Forsyth in "Art and Craft of the Potter:') 

Instruction in the preparation of clay, coiling and hand building, tooling, throwing 
on the potter's wheel, design, History of Pottery, mould making, preparation of glazes, 
calculations and research on glazes; and the stacking and firing of a kiln. 

BOOKBINDING (Amy Despard) 

From simple problems such as the making of portfolios, albums, etc., to the binding 
of magazines and books; the various forms of binding, from cloth to leather, with 



PRINCIPAL: Fred S. Haines, r.c.a., o.s.a. 
— Studied at the Central Ontario School 
of Art and Industrial Design, and L'Aca- 
demie Royale des Beaux Arts d'Anvers, 
Belgium, under de Vriendt and Siebert. 
Past President of the Royal Canadian 
Academy of Arts, and Past President of 
the Ontario Society of Artists. Honorary 
Member of the Society of Hungarian 
Painter-Etchers, member of Chicago 
Society of Etchers, member of the Painter- 
Gravers of London, England. Represented 
in the National Gallery of Canada, Ottawa, 
the Art Gallery of Toronto, Hart House, 
public collections at Sarnia and Saskatoon, 
and in many other public and private 

John M. Alfsen, a. r.c.a., o.s.a.— Studied 
at the Ontario College of Art, Toronto, 
L'Academie Royale des Beaux Arts 
d'Anvers, Belgium, and the Art Students' 
League under Henry Hayes Miller, New 
York. Is represented in the National 
Gallery of Canada, Ottawa, and the Art 
Students' League Gallery, New York. 
Associate Member of the Royal Canadian 
Academy of Arts, and member of the 
Ontario Society of Artists. 

Frederick S. Challener, r.c.a., o.s.a.— 
Studied at the Central Ontario School of 
Art and Industrial Design. Member of 
the Royal Canadian Academy of Arts, 
member of the Ontario Society of Artists. 
Represented in the National Gallery of 
Canada, Ottawa. Canadian War Memo- 
rials and Mural Decorations in Montreal, 
Ottawa, Toronto, Hamilton, Winnipeg 
and Edmonton. Medals at Pan American 
Exposition, Buffalo and Louisiana Pur- 
chase Exposition, St. Louis. 

E. Grace Coombs, o.s.a.— Graduate of the 
Ontario College of Art. Studied at the 
New York School of Fine and Applied 
Arts. Member of the Ontario Society of 
Artists. Represented in Hart House, and 
many private collections. 

Miss Amy Despard— Graduate Ontario 
College of Art — Graduate of Course in 
Occupational Therapy at University of 
Toronto (specializing in bookbinding). 
Took Summer Course at the School of 
Fine and Applied Art — New York. 
Spent four months in Europe for obser- 
vation and study. 

Fred. Finley— Born in New South Wales, 
Australia; came to Canada in 1924. Studied 
in Australia under Julian Ashton, and in 
Paris under Paul Albert Laurens and Henri 
Dechenaud. Later worked for a year at 
the Bavarian Academy, in Munich. 

Fred. Hagan— Studied Ontario College 
of Art, Toronto; Art Students' League 
of New York; Lithography with George 
Miller, New York. Member, Canadian 
Society of Graphic Art, and Society of 
Canadian Painter-Etchers and Engravers. 
Exhibited: Royal Canadian Academy, 
Ontario Society of Artists, Canadian 
Group of Painters, and National Gallery 
of Canada. Formerly Resident Artist at 
Pickering College. 

Emanuel Hahn, r.c.a., s.s.c— Studied at 
the Central Ontario School of Art and 
Industrial Design, School of Applied Art. 
Polytechnikum and Academy of Stutt- 
gart, Germany. Member of the Royal 
Canadian Academy of Arts, member of 
the Sculptors' Society of Canada. Repre- 
sented by work in the National Gallery 
of Canada, Ottawa, and Art Gallery of 
Toronto. Erected Adam Beck and Hanlan 
Memorials, Toronto, and others. 



Gustav Hahn, r.c.a., o.s.a.— Graduated 
from Royal Wurtemberg School of Art 
and Design, Stuttgart, Germany. Studied 
in Munich and Italy. Instructor in Model- 
ling and Design in the Central Ontario 
School of Art and Industrial Design, and 
later in Design at the Toronto Technical 
School. Interior Decoration and Murals 
in the Provincial Legislative Chamber, 
Toronto, Council Chamber, Toronto City 
Hall, and in numerous churches and 
houses in Toronto, and the Province of 
Ontario. Exhibited at the World's Fair, 

Ruth M. Home, m.a.— In 1922, received 
her B.A. in Modern History at the Uni- 
versity of Toronto, and, in 1924, her M.A. 
in Political Science. In 1928, she was 
appointed lecturer and guide in the 
Royal Ontario Museum, and, in 1934, 
received a Fellowship from the Canadian 
Committee of the Carnegie Corporation 
of.. New York to study ceramics in 
London, England; in 1935, accepted 
another from the Summer School in Far 
Eastern Art and History, Columbia Uni- 
versity, and, in 1938, was awarded the 
American Association of Museums Fellow- 
ship for study at the Courtaulds Institute 
of Fine Arts, specializing in ceramics. 
Supervisor of the Division of Public In- 
struction, Royal Ontario Museum, from 
1939-1945, and lecturer in theDepartment 
of Fine Arts, University of Toronto, since 

Nicholas Hornyansky, a.r.c.a., o.s.a., 
c.p.e. — Born in Budapest; studied at the 
Academy of Fine Arts in Budapest, and 
later in Antwerp and in Holland. In Paris 
he studied colour aquatint printmaking. 
Is represented in many galleries and pri- 
vate collections in Canada, Europe and the 
United States. 

John Freeling Hunt— Studied at Ontario 
College of Art; in Paris on Post Gradu- 
ation Scholarship; in Italy, Germany 
and England on Research Scholarship. 
Joined staff of Parsons School of Design 
1935 as instructor in Interior Design 
and Research. Taught four years in Paris 
and one year in New York. Industrial 
and Interior Designer in New York and 

Lily Langley— Studied at Winnipeg 
School of Art and Ontario College of 
Art, including Summer School under 
J. W. Beatty. Instructed for two sessions 
Teachers Summer Course, O.C.A., and 
one year Saturday Morning Classes, 
O.C.A. Since 1937 has practised as a 
free lance designer. 

Manly MacDonald, a.r.c.a., o.s.a. — 
Studied at the Ontario College of Art, 
under J. W. Beatty, R.C.A., and G. A. 
Reid, R.C.A., at Albright Art School, 
Buffalo, N.Y., under Ernest Fosbery, 
R.C.A. , and at Boston Museum School 
of Fine Arts, urlder William Paxton and 
Philip Hale. Spent year abroad on Royal 
Canadian Academy Travelling Scholar- 
ship, studying in galleries of France, Spain 
and Italy. Associate Member of the Royal 
Canadian Academy of Arts, member of 
the Ontario Society of Artists. Repre- 
sented in the National Gallery of Canada, 

John Martin— Studied in England under 
Professor Needham and Professor Hill. 
Studied design at Nottingham School 
of Art under Arnesby Brown. Specialist 
in textile printing and design. Member 
of the O.S.A. and Canadian Painter 



Gladys Montgomery— Graduate of the 
Ontario College of Art. Has exhibited 
in the O.S.A. and R.C.A. Graduate of 
the Toronto Conservatory of Music. 
Studied pottery under Cameron Paulin 
and at Alfred University. Represented 
at the Syracuse Museum of Art. 

Rowley Murphy, a.r.c.a., o.s.a. — 
Studied Toronto Technical School; 
Ontario College of Art; Pennsylvania 
Academy of Fine Arts, Philadelphia. 
Passed Department of Education 
Teacher's Course, Hamilton Training 
College. Designer of Camouflage, 
Royal Canadian Navy. Official Royal 
Canadian Naval War Artist. Repre- 
sented in Pennsylvania Academy of 
Fine Arts, Philadelphia, and National 
Gallery, Ottawa. Associate member of 
Royal Canadian Academy and member 
of Ontario Society of Artists. 

Wanda B. Nelles— Studied weaving at 
Cranbrook Academy of Art and with 
Swedish weaver, Mrs. Martina Lindahl, at 
Hartland, Michigan; Penland School of 
Handicrafts and with Anni Albers at 
Black Mountain College, N.C. Has had 
six years experience teaching weaving. 

Frances Neil— Graduate of the Ontario 
College of Art. Worked with Robert 
Simpson Company on fashion floor dis- 
plays and window designing. Repre- 
sented in the Ontario Society of Artists, 
Canadian Academy and Graphic Art 

Harley Parker— Studied at the Ontario 
College of Art under Frank Carmichael, 
and at Black Mountain College, North 
Carolina, under Joseph Albers. Member 
Canadian Society of Graphic Arts. 

George Douglas Pepper, a.r.c.a., o.s.a. 
— Attended the Ontario College of Art. 
Studied in London, Paris, Italy. Publicity 
Artist, Forest Service of Canada. De- 
partment of Interior, for three years. 
Represented in the National Gallery of 
Canada, the Art Gallery of Toronto, 
the Massey collection, the Hart House 
collection, Toronto, and the National 
Gallery of South Africa. 

Harold G. Stacey — Born in Montreal, 
Que. Attended Montreal and Toronto 
Public Schools. Studied metalworking 
with Rudy Renzius. From early 1930's 
to 1940 maintained a studio in Toronto 
for the design and execution of metal- 
work and jewellery. 

Donald Campbell Stewart— Born 1912, 
Hamilton, Ontario. Art Study — Hamilton 
Technical School with John Sloan, West- 
dale Technical School with Ida Hamilton, 
Ontario College of Art with Emanuel 
Hahn, graduated in Sculpture 1937 with 
Lieut.-Gov.'s Medal. Elected member 
Ontario Society of Artists 1942, elected 
member Sculptor's Society of Canada 
1942, elected member Associate of the 
Royal Canadian Academy 1944. Has 
exhibited work in Toronto, Hamilton, 
London, Montreal, Halifax, Syracuse. 
Boston, New York. Has maintained a 
sculptor's workshop since 1937 in Toronto. 

Ernest Wicksey — Studied at the Ontario 
College of Art, under J. W. Beatty, 
R.C.A. , and received his personal tuition 
in Lettering and Illumination under 
J. E. H. MacDonald, R.C.A. Designed 
Illuminated Addresses presented to the 
Duke of Windsor (then the Prince of 
Wales), the Queen of Rumania, the 
Canadian High Commissioner at 
London, the Lieut. -Governor of Onta- 
rio, Benito Mussolini and many others. 




1. Students are admitted on an implicit 
understanding that they will be of good 
behaviour, will work as directed, be regular 
and punctual in attendance, observe all 
regulations, posted or announced, and 
present themselves for examinations re- 
lating to their courses. 

2. The Principal may suspend any student 
whose conduct or influence appears to 
be injurious to the discipline and interest 
of the College. 

3. In the case of absence, from sickness or 
other cause, beyond three days, a com- 
munication must be sent to the Principal. 

4. The student who has the highest per- 
centage of attendance in the classes of 
the division for which scholarships are 
offered, will have preference when two or 
more are equal in examinations. 

5. Students are not allowed in the College 
at other than working hours without per- 
mission from the Principal. 

6. Only students of the College may enter 
class rooms during working hours, and 
only during recess may students visit class 
rooms other than those where they are 

7. No student may alter the prescribed 
course or attend classes of other years 
without the sanction of the Principal. 

8. Smoking is not permitted anywhere in 
the College during class hours, but is 
allowed at certain times and places in 
accordance with posted regulations, sub- 
ject to change or cancellation at any time. 

9. Facilities are accorded the student for 
reasonable amusement and recreation. For 
this purpose, committees of the Students' 
Club are given authority to act under the 
general direction of the Principal. 

10. Students desiring to bring guests to the 
dining room, or for any other purpose 
must obtain permission from the Principal. 

1 1 . No work will be exhibited at the monthly 
or annual exhibition which has not been 
done by a student at the College during 
the year. 

12. The Principal and staff reserve the right 
to retain permanently for the College, 
prize drawings and other works suitable 
for record, example and exhibition. 

13. Fees are payable in advance when the 
student registers and are not returnable. 

14. Fees paid by students whose further 
attendance is prohibited for violation of 
regulations are forfeited, and scholarships 
may be cancelled without notice, for non- 
attendance or misconduct. 

15. Students must obtain a 90% attendance 
record and fulfil all financial obligations. 

16. Students must turn in 90% of the work 
assigned during the school year. 

17. Former students or persons not regis- 
tered in the College must not make use 
of the College premises without permis- 
sion of the Principal. 

18. Any student failing to hand in three 
projects in ahy subjects will automati- 
cally forfeit his registration. 

19. Students injuring the property of the 
College will be held responsible. 

20. Students defacing or losing books bor- 
rowed from the College Library must pay 
for the cost of the books so defaced or 

21. The Council of the College cannot be 
held responsible for the custody of the 
private property of students, nor can any 
claim be entertained in respect of any 
article left in the College. 

22. Day Classes terminate at 4:30 p.m. and 
Evening Classes at 9:30 p.m. Students 
must leave the College promptly after 



Day Classes in the College year are divided 
into two terms and all fees are payable 
strictly in advance. Students are expected 
to give careful consideration to their 
decisions on entering the College, as 
fees once paid are not returnable. 


{Including Fees for Students 1 Club Membership) 
For all classes and general 

privileges for one year . . . $100.00 
For all classes and general 

privileges for one term ... $ 50.00 
For six half days per week — 

one term $ 30.00 

NO STUDENT is admitted to classes until 
registration is completed by the payment 
of fees. 

SUPPLIES used during the course may be 
purchased as required at the College store; 
these are sold at cost and during the year 
would amount to about forty-five dollars. 

FIRST YEAR students also pay in advance 
a fee for modelling supplies used during 
the year. A small fee will be charged to 
craft students. 

LOCKERS. Lockers for supplies may be 
secured by students on payment of fifty 
cents per year rental. Lockers will be 
shared by two students. The key must be 
left at the office at the end of the session; 
twenty-five cents will then be returned. 
The College is not responsible for property 
in these lockers and all lockers must be 
cleared within one week after the closing 



First Term begins September 30th, 1946 
Closes January 31st, 1947 
Second Term begins February 1st, 1947 
Closes May 31st, 1947 

Registration For 2nd, 3rd and 4th year — September 23rd to 27th. 
Registration For 1st year — September 30th. 

Thanksgiving — From Friday before Thanksgiving until the following Tuesday. 
Christmas— From December 20th, 1946, until January 5th, 1947 
Easter— From Thursday before Good Friday until the following Tuesday. 

All students who have been accepted for first year must complete registration in 
person on September 30th. No place will be held after that date. 

[26 1 


Governor-General's Medal for General Proficiency George di Carlo 

Lieutenant-Governor's Medal for Proficiency in Interior Decoration . Earl Wilson 

Ontario College of Art Medal for Outstanding Proficiency Virginia Byers 

Ontario College of Art Medal for Outstanding Proficiency Jean Redfern 

Virginia Byers 
isabelle mcquire 

Gordon Couling 
George di Carlo 

Earl Wilson 


Commercial Art 
Jean Redfern 

Drawing and Painting 
Thomas Hodgson 
Marjorie Palmer 

Interior Decoration 

Betty Shoychet 

Roberta Wilcox 

David Payne 
Wilson Thomson 

Jaime de la Torre 

Margaret Giddings 

Rae Hendershot 


Commercial Art 

Drawing and Painting 
John Stone 

Clare Stein 

Margaret Watherston 


Scholarship— Mr. R. Y. Eaton— One Term Nelson Dancy 

Scholarship— O'Keefe's— One Term Tommy Kakinuma 

Scholarship— Mr. R. Y. Eaton— One Term William McElcheran 

Scholarship— Mrs. R. S. McLaughlin— One Year Arnold Meyers 

Scholarship— Miss Florence Black— One Term Kathleen Johnson 

Scholarship— Mrs. John M. Lyle— One Term .- Marion MacRae 

Vernon Mould 

Frank Sebastiano 

Hugh Swartz 

Harry McLeod 
Marion MacRae 


Commercial Art 
John Michalicka 
Hugh Swartz 

[27 1 

Dorothy Webster 
Dorothy Wilson 

.% tv All ■»* wn srnoi.Aitsiiirs 1943 - Mill. 

Frederick Amos 
Dirk Bossen 
Clark Cunningham 
Nelson Dancy 
Haydn Davies 
Patrick Haldorsen 

Drawing and Painting 
Tommy Kakinuma 
Archibald Logan 
Hilary Menzies 
Arnold Meyers 
Vernon Mould 
Sam Narrol 

Interior Decoration 
Kathleen Johnson 

William McElcheran 

Jessie Stewart 

John O'Henly 
Arthur Ortiz 
Frank Sebastiano 
Paul Watt 

Ruthe Winkler 

Paul Braid 

Ralph Ashton 
Robert Binks 

Commercial Art 
William Lytle 

Drawing and Painting 
Kathleen Bowers 
Mary Cumming 

Frederick Martin 

John Taylor 
William Thomson 


Scholarship— Mr. R. S. McLaughlin— One Year Anna Christie 

Scholarship— O'Keefe's— One Term William Earls 

Scholarship— International Business Machines— One Term Helen Parsons 

Arnold Hodgkins 

Donald Holden 

Robert Turnbull 

Margaret Caldwell 
Dorothy Campbell 
Anna Christie 
William Davies 
Lois Draper 

Eric de Luz 
Donald Holden 

Joan Chalmers 


Commercial Art 
William Earls 
David Hall-Humpherson 
Arnold Hodgkins 
Sybilla Johnson 
Leslie Jones 

Drawing and Painting 
Grant Johnston 
Joan Lowrie 

Interior Decoration 
Margaret Peniston 

Helen Parsons 
Felicia Robinson 
Robert Turnbull 
Helen White 

Gordon McArthur 
Arthur Thorne 

Agnes Tremayne 

Henry Donaldson 

Althea Edgar 

28 ] 


Daphne Clarke 
Roberta Dafoe 
Ronald Darby 
Frederick Davis 
June Forbes 
Joyce Geldart 

George Doty 
Douglas Hendry 
Jewell Kelly 

Carl Baldwin 
Jane Fisher 

Joyce Roffey 

Commercial Art 
Patricia Gibson 
Donolene Griffiths 
Shirley Hogan 
John Maxted 
Edward McCormack 

Drawing and Painting 
Kenneth McDonald 
Peter McLean 
Marguerite Payne 

Interior Decoration 
Harold Rosnick 

Metal Work 

James Stewart 

Furniture Design 


Mary Peart 
Margaret Smith 
Norma Tash 
William Wells 
Kenneth Zealley 

John Richmond 
Cecilie Swaby 
Ernest Taylor 

Robina Whyte 

Anarita Townsend 

Scholarship— International Business Machine— One Term 
Scholarship— Mrs. John Lyle— One Term 

Jack Birdsall 
Edgar Winger 

Garry Filewod 
Gerard Garneau 
William Gee 
Sidney Goldsmith 
John R. Greene 

Louis Hartley 

Stanley Kinton 
Nancy Jamieson 
Mary Johnston 

John Muir 
Catherine Munro 
Alice-Dewart Robinson 
James Scott 

Arthur Alder 
lorne ballance 
Lawrence Barnett 
Ralph Borchiver 
Alexander Bowen 
Carol Campbell 
Mary Cane 
Gordon Clarke 
Arthur Cleary 
William Clements 
Edward Cumming 
Gordon Diplock 
Frederick Down 
William Ellery 
Herbert Ficht 
James Gadsden 
John Goodale 
Edward Greenwood 

Roy Haliburton 
John Henry 
Raymond Hughes 
Herbert Hurdman 
Verna Jacques 
Richard Knowles 
Donald Lapp 
Allan Lett 
Karn Lewis 
Ruth McCracken 
Bernard McLoughlin 
John McMillan 
Ian Macallum 
Annah Meikle 
Lorena Meyers 
Harold Muller 
Helen Nixon 
Alan Olmsted 

Frank Perry 
John Pollard 
Lorena Purdy 
Nicholas Roman 
Gerald Scott 
Charles Sheldon- 
Reginald Shepherd 
Arthur Steven 
Malcolm Storme 
James Taylor 
John Tynski 
George Upper 
John Weese 
Harry Wetmore 
James Williamson 
Douglas Wood 
Jacqueline Wormley 


AW Alt II* AM> SrilOLAItMIIPS 1945-1946 

Cecil Alton 
Robert Annand 
David Anderson 
Douglas Barry 
James Bayley 
John Bechtel 
Gordon Bell 
Leslie Bennett 
Harry Bohaychuk 
Paul Borsos 
Ralph Bothwell 
Edward Boulton 
Beverley Bray 
Ruth Bugg 
Albert Candy 
Elwin Cathcart 
William Charlton 
Morris Clement 
Scott Darrach 
Alfred Davidson 
Joan Davidson 
June Demerling 
Samuel de Rinzy 
Bernard des Roches 
Carl Durban 
Carl Eayrs 
Lloyd Edwards 
Patricia Elliott 
Ernest Estey 
Bertram Fisher 
Fred R. Fisher 
Armand Flint 


Joan Folinsbee 
Frederick Fuller 
Donald Geary 
William Gibbons 
David Gillrie 
Joan Gilmour 
Corbett Gray 
John S. Green 
Arthur Griffiths 
Carman Harrison 
Hubert Hatfield 
Norman Hathaway 
Robert Irvine 
Barbara Kelly 
Donald Kennedy 
Teresa Kidick 
Joseph Landry 
Eugene Lees 
Thomas Lima 
Ernest Little 
Herbert McCarthy 
David McLaughlin 
Dorothy Merrick 
Frank Milnes 
Beresford Mitchell 
James Moffatt 
Raymond Mohr 
John Neilly 
Albert Palleck 
Anna Patterson 
Madeleine Patterson 

Joan Peterkin 
Frances Powell 
Harold Price 
Jean Pugh 
John Rennie 
Ernest Rex 
Charlotte Ritchie 


Shirley Roberts 
Ruby Rogers 
Gerard Rostant 
Bernard Scott 
Anne Shields 
Keith Smith 
William Smith 
James Stewart 
Elizabeth Studdy 
Thomas Swift 
Sydney Taylor 
E. F. Thompson 
James Thompson 
Ruth Thorman 
Gladys Verity 
Nan Waller 
Lyle Westman 
Nancy Wigle 
William Williamson 
Ben Wilson 
Gordon Winkworth 


Scholarship— Ontario College of Art— One Term 
Scholarship— Ontario College of Art— One Term 

. . Katherine Ross 
Margaret McMillan 

Nancy Brown 

Gary Cruickshank 

Jean Hanson 

Kathleen Brimer 
Alexander Burns 
Pamela Dixon 
John Frame 
John Gould 


Joan Hutchings 
Glenna Ireton 
Shirley Kelcey 
Adele Lechowski 
Yvonne Mackintosh 

Arthur Murdock 
Joan Roworth 
Karen Thompson 
Emelia Valko 






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